Vincenzo Bellini (Vincenzo Bellini) |

Vincenzo Bellini

… Ucebile ngomqondo wokudabuka, umuzwa womuntu ngamunye, otholakala kuye yedwa! J. Verdi

Umqambi wase-Italy u-V. Bellini wangena emlandweni wesiko lomculo njengengcweti evelele ye-bel canto, okusho ukucula okuhle ngesiNtaliyane. Emuva kwenye yezindondo zegolide ezakhishwa phakathi nesikhathi sokuphila komqambi wokuhlonishwa kwakhe, umbhalo omfushane wawufundeka kanje: “Umdali wezingoma zesiNtaliyane.” Ngisho ingcweti kaG. Rossini ayikwazanga ukusibekela udumo lwakhe. Isipho esimangalisayo somculo u-Bellini ayenaso samvumela ukuthi adale amazwi oqobo agcwele amazwi ayimfihlo, akwazi ukuthonya uhla olubanzi kakhulu lwabalaleli. Umculo kaBellini, naphezu kokuntuleka kwekhono eliphelele kuwo, wawuthandwa nguP. Tchaikovsky kanye noM. Glinka, F. Chopin noF. Liszt bakha inqwaba yemisebenzi ngezindikimba ezivela kuma-opera omqambi wase-Italy. Abaculi abavelele kangaka bekhulu le-1825 njengoP. Viardot, odade bakwaGrisi, M. Malibran, J. Pasta, J. Rubini A. Tamburini nabanye bakhanya emisebenzini yakhe. UBellini wazalelwa emndenini wabaculi. Uthole imfundo yakhe yomculo e-Neapolitan Conservatory yaseSan Sebastiano. Umfundi womqambi odumile ngaleso sikhathi uN. Tsingarelli, uBellini ngokushesha waqala ukufuna indlela yakhe kwezobuciko. Futhi umsebenzi wakhe omfushane, weminyaka eyishumi kuphela (35-XNUMX) wokuqamba waba ikhasi elikhethekile ku-opera yase-Italy.

Ngokungafani nabanye abaqambi base-Italy, uBellini wayengenandaba nhlobo ne-opera buffa, lolu hlobo lwesizwe oluthandwayo. Kakade emsebenzini wokuqala - i-opera "Adelson and Salvini" (1825), lapho aqala khona e-Conservatory Theatre yaseNaples, ithalente lomculo womqambi labonakala ngokucacile. Igama likaBellini lathola ukuduma okubanzi ngemuva kokukhiqizwa kwe-opera ethi “Bianca and Fernando” yeshashalazi yaseNeapolitan iSan Carlo (1826). Khona-ke, ngempumelelo enkulu, imidlalo yokuqala ye-opera ethi The Pirate (1827) kanye ne-Outlander (1829) ibanjelwa eLa Scala Theatre eMilan. Umdlalo kaCapuleti noMontecchi (1830), owaqala ukuboniswa esiteji se-Venetian Fenice Theatre, ubingelela izethameli ngesasasa. Kule misebenzi, imibono yokushisekela izwe yathola inkulumo eshisekayo neqotho, ehambisana negagasi elisha lenhlangano yenkululeko kazwelonke eyaqala e-Italy ngeminyaka yama-30s. ekhulwini elidlule. Ngakho-ke, ama-premiere amaningi e-opera yase-Bellini ayehambisana nokubonakaliswa kokushisekela izwe, futhi izingoma ezivela emisebenzini yakhe zaziculwa emigwaqweni yasemadolobheni ase-Italy hhayi nje kuphela ngabahambeli bemidlalo yaseshashalazini, kodwa futhi nayingcweti, izisebenzi, nezingane.

Udumo lomqambi lwaqiniswa nakakhulu ngemva kokudalwa kwe-operas La sonnambula (1831) noNorma (1831), idlula ngaphesheya kwe-Italy. Ngo-1833 umqambi waya eLondon, lapho aqhuba khona ama-opera akhe ngempumelelo. Umbono owenziwe yimisebenzi yakhe ku-IV Goethe, F. Chopin, N. Stankevich, T. Granovsky, T. Shevchenko ufakaza ngendawo yabo ebalulekile kubuciko baseYurophu bekhulu lesi-XNUMX.

Ngaphambi nje kokufa kwakhe, uBellini wathuthela eParis (1834). Lapho, ngenxa ye-Italian Opera House, wadala umsebenzi wakhe wokugcina - i-opera I Puritani (1835), i-premiere eyanikezwa ukubuyekezwa okuhlakaniphile nguRossini.

Ngokuphathelene nenani lama-opera adaliwe, uBellini ungaphansi kukaRossini noG. Donizetti - umqambi wabhala imisebenzi yesiteji somculo engu-11. Akazange asebenze kalula nangokushesha njengabantu bakubo abadumile. Lokhu kwakubangelwa kakhulu indlela yokusebenza kukaBellini, akhuluma ngayo kwenye yezincwadi zakhe. Ukufunda i-libretto, ukungena ku-psychology yabalingisi, ukwenza njengomlingiswa, ukucinga ukuveza imizwa ngamazwi kanye nomculo - leyo yindlela echazwe umqambi.

Ekwakheni idrama yomculo wothando, imbongi u-F. Romani, owaba umshicileli wakhe wenkululeko unomphela, kwaba umuntu wangempela onomqondo ofanayo kaBellini. Ngokubambisana naye, umqambi wazuza imvelo yokufanekisela iphimbo lokukhuluma. UBellini wayazi kahle imininingwane yezwi lomuntu. Izingxenye zephimbo zama-opera akhe zingokwemvelo ngokwedlulele futhi kulula ukuzicula. Bagcwele ububanzi bokuphefumula, ukuqhubeka kokuthuthukiswa komculo. Ayikho imihlobiso engadingekile kubo, ngoba umqambi wabona incazelo yomculo wezwi hhayi emiphumeleni ye-virtuoso, kodwa ekudlulisweni kwemizwelo yabantu ephilayo. Uma kucatshangelwa ukudalwa kwezingoma ezimnandi nokuphindaphinda okuzwakalayo njengomsebenzi wakhe oyinhloko, u-Bellini akazange anamathisele ukubaluleka okukhulu kumbala we-orchestra nokuthuthuka kwe-symphonic. Kodwa-ke, naphezu kwalokhu, umqambi wakwazi ukukhuphula i-opera yesi-Italian lyric-dramatic ezingeni elisha lobuciko, ngezindlela eziningi elindele impumelelo ye-G. Verdi kanye nama-verists ase-Italy. Enkundla yemidlalo yaseshashalazini yaseMilan iLa Scala kunomfanekiso wemabula waseBellini, ezweni lakubo, eCatania, indlu ye-opera inegama lomqambi. Kodwa isikhumbuzo esiyinhloko kuye sadalwa umqambi ngokwakhe - kwakungama-opera akhe amangalisayo, kuze kube yilolu suku awashiyi izigaba zemidlalo yaseshashalazini eminingi yomhlaba.

I. Vetlitsyna

• I-opera yase-Italy ngemva kukaRossini: umsebenzi kaBellini noDonizetti →

Indodana kaRosario Bellini, inhloko yesonto kanye nothisha womculo emindenini yezicukuthwane zedolobha, uVincenzo waphothula eNaples Conservatory "San Sebastiano", waba umnikazi wayo wokufunda (othisha bakhe kwakunguFurno, Tritto, Tsingarelli). Endaweni yokugcina izinto, uhlangana noMercadante (umngane wakhe omkhulu wesikhathi esizayo) noFlorimo (umbhali wakhe wesikhathi esizayo). Ngo-1825, ekupheleni kwesifundo, wethula i-opera ethi Adelson and Salvini. URossini wayethanda i-opera, engazange ishiye isiteji unyaka. Ngo-1827, i-opera kaBellini ethi The Pirate yaba yimpumelelo enkundleni yemidlalo yaseshashalazini iLa Scala eMilan. Ngo-1828, eGenoa, umqambi wahlangana noGiuditta Cantu waseTurin: ubuhlobo babo buzohlala kuze kube ngu-1833. Umqambi odumile uzungezwe inani elikhulu labalandeli, kuhlanganise noGiuditta Grisi noGiuditta Pasta, abadlali bakhe abakhulu. ELondon, "I-Sleepwalker" kanye "Norma" ngokubamba iqhaza kweMalibran baphinde bahlelwa ngempumelelo. E-Paris, umqambi usekelwa uRossini, omnika iseluleko esiningi ngesikhathi sokuqanjwa kwe-opera I Puritani, eyamukelwa ngentshiseko engavamile ngo-1835.

Kusukela ekuqaleni, u-Bellini wakwazi ukuzwa lokho okushiwo imvelaphi yakhe ekhethekile: isipiliyoni somfundi "u-Adelson noSalvini" asinikezanga nje injabulo yempumelelo yokuqala, kodwa futhi nethuba lokusebenzisa amakhasi amaningi e-opera kumadrama omculo alandelayo. (“Bianca and Fernando”, “Pirate”, Outlander, Capulets and Montagues). Ku-opera i-Bianca e Fernando (igama leqhawe lashintshwa laba nguGerdando ukuze lingacasuli inkosi yaseBourbon), isitayela, esasingaphansi kwethonya likaRossini, sase sikwazi ukunikeza inhlanganisela ehlukahlukene yezwi nomculo, ububele babo, ukuvumelana okumsulwa nokungavinjelwanga, okwaphawula nezinkulumo ezinhle. Ukuphefumula okubanzi kwe-arias, isisekelo esakhayo sezigcawu eziningi zohlobo olufanayo lwesakhiwo (isibonelo, isiphetho sesenzo sokuqala), ukuqinisa ukungezwani komsindo njengoba amazwi angena, afakazela ugqozi lwangempela, kakade enamandla futhi ekwazi phila indwangu yomculo.

Ku-"Pirate" ulimi lomculo lujula. Ibhalwe ngesisekelo senhlekelele yothando kaMaturin, ummeleli owaziwayo "wezincwadi ezesabekayo", i-opera yadlalwa ngokunqoba futhi yaqinisa ukuthambekela kwenguquko kaBellini, okwazibonakalisa ekwenqatshweni kokuphindaphinda okomile nge-aria eyayiphelele ngokuphelele. noma ikhululwe kakhulu emhlobiso ojwayelekile futhi ihlanganiswe ngezindlela ezihlukahlukene, ebonisa ubuhlanya be-heroine u-Imogen, kangangokuthi ngisho namazwi ayengaphansi kwezidingo zesithombe sokuhlupheka. Kanye nengxenye ye-soprano, eqala uchungechunge lwe-"crazy arias" edumile, kufanele kuqashelwe enye impumelelo ebalulekile yale opera: ukuzalwa kweqhawe le-tenor (uGiovanni Battista Rubini wenza indima yakhe), ukwethembeka, omuhle, ongajabuli, onesibindi. futhi ongaqondakali. NgokukaFrancesco Pastura, umthandi oshisekayo nomcwaningi wengoma yomqambi, “uBellini waqala ukuqamba umculo we-opera ngentshiseko yomuntu owazi ukuthi ikusasa lakhe lixhomeke emsebenzini wakhe. Akungabazeki ukuthi kusukela ngaleso sikhathi waqala ukwenza ngokuvumelana nesimiso, kamuva atshela umngane wakhe wasePalermo, u-Agostino Gallo. Umqambi wawabamba ngekhanda amavesi futhi, ezivalela ekamelweni lakhe, wawasho ngokuzwakalayo, “ezama ukuguqula umlingiswa ophimisa la mazwi.” Njengoba ephindaphinda, uBellini wazilalela ngokucophelela; izinguquko ezihlukahlukene ekukhulumeni kancane kancane zaphenduka amanothi omculo ... ”Ngemva kwempumelelo egculisayo yeThe Pirate, ecetshiswe ngolwazi futhi iqinile hhayi nje ngekhono layo, kodwa nekhono le-librettist - uRomani, owabamba iqhaza ku-libretto, uBellini wethulwa I-Genoa i-remake ka-Bianchi no-Fernando futhi yasayina inkontileka entsha ne-La Scala; ngaphambi kokuba ajwayelane ne-libretto entsha, wabhala ezinye izihlokwana ngethemba lokuthi uzozithuthukisa “ngokumangalisayo” emdlalweni we-opera. Kulokhu ukukhetha kuwele ku-Outlander ka-Prevost d'Harlincourt, eyashintshwa ngu-JC Cosenza yaba idrama eyadlalwa ngo-1827.

I-opera kaBellini, edlalwa esiteji senkundla yeshashalazi edumile yaseMilan, yamukelwe ngesasasa, yabonakala iphakeme kune-The Pirate futhi yadala impikiswano ende mayelana nodaba lomculo weshashalazi, ukuphindwa kwengoma noma ukucula okudabukisayo maqondana nesakhiwo sendabuko, okusekelwe amafomu ahlanzekile. Umgxeki wephephandaba i-Allgemeine Musicalische Zeitung wabona e-Outlander isimo saseJalimane esakhiwe kabusha ngobuqili, futhi lokhu okuphawuliwe kufakazelwa ukugxekwa kwesimanje, kugcizelela ukusondela kwe-opera kuthando lwe-The Free Gunner: lokhu kusondelana kubonakaliswa kokubili emfihlakalweni umlingiswa oyinhloko, nasekubonisweni kokuxhumana phakathi komuntu nemvelo, nasekusetshenzisweni kwezisusa zenkumbulo ezisebenzela inhloso yomqambi “ukwenza intambo yesakhiwo ngaso sonke isikhathi ibambeke futhi ihambisane” (Lippmann). Ukuphimisela okugxilile kwamalunga anokuphefumula okubanzi kubangela izinhlobo eziphakamayo, izinombolo ngazinye zincibilika emiculweni yezingxoxo ezidala ukugeleza okuqhubekayo, "kulandelana komculo owedlulele" (Kambi). Ngokuvamile, kukhona into yokuhlola, i-Nordic, i-classical yakamuva, esondele "kwithoni kuya etching, ephonswe ngethusi nesiliva" (Tintori).

Ngemva kokuphumelela kwama-opera i-Capulets e Montagues, La sonnambula kanye noNorma, ukwehluleka okungangabazeki kwakulindeleke ngo-1833 yi-opera ethi Beatrice di Tenda esekelwe enhlekeleleni ye-Cremonese romantic CT Fores. Siphawula okungenani izizathu ezimbili zokwehluleka: ukuxhamazela emsebenzini kanye netulo elimnyama kakhulu. UBellini usole umdidiyeli wenkululeko, uRomani, ophendule ngokugxeka umqambi, okuholele ekutheni kube nokungaboni ngasolinye phakathi kwabo. I-Opera, ngakolunye uhlangothi, ayizange ifanelwe ukucasuka okunjalo, njengoba inokufaneleka okukhulu. Ama-ensembles namakhwaya ahlukaniswa ngokuthungwa kwawo okuhle kakhulu, futhi izingxenye ezizimele zihlukaniswa ngobuhle obujwayelekile bomdwebo. Ngokwezinga elithile, ulungiselela i-opera elandelayo - "I-Puritani", ngaphezu kokuba enye yezinto ezilindelwe kakhulu zesitayela se-Verdi.

Sengiphetha, sicaphuna amazwi kaBruno Cagli – abhekisela kuLa Sonnambula, kodwa incazelo yawo ibanzi kakhulu futhi isebenza kuwo wonke umsebenzi womqambi: “UBellini wayephupha ngokuba umlandeli kaRossini futhi akazange akufihle lokhu ezincwadini zakhe. Kodwa wayazi ukuthi kunzima kangakanani ukusondela endleleni eyinkimbinkimbi nethuthukisiwe yemisebenzi kaRossini ongasekho. Eyinkimbinkimbi kakhulu kunalokho okuvamile ukukucabanga, uBellini, kakade phakathi nomhlangano noRossini ngo-1829, walibona ibanga elide elalibahlukanisa futhi wabhala: “Ngizoziqamba ngokwami, ngokusekelwe ekuhlakanipheni, kusukela ekushiseni kobusha. Ngizame ngokwanele.” Le nkulumo enzima nokho ikhuluma ngokusobala ngokwenqatshwa kobuciko bukaRossini kulokho okubizwa ngokuthi “umqondo ojwayelekile”, okungukuthi, ubulula obukhulu befomu.

UMnu Marchese

I-Opera:

"U-Adelson noSalvini" (1825, 1826-27) "Bianca noGernando" (1826, ngaphansi kwesihloko esithi "Bianca noFernando", 1828) "Pirate" (1827) "Foreigner" (1829) "Zaira" (1829) " Capulets and Montecchi (1830) "Somnambula" (1831) "Norma" (1831) "Beatrice di Tenda" (1833) "The Puritans" (1835)